‘The Big War’ First Look: Iconic French WWII Graphic Novel Gets a Big-Budget Adaptation From Mathieu Kassovitz (EXCLUSIVE)

As a film enthusiast with a deep appreciation for the nuances and complexities of storytelling, I find myself intrigued by this ambitious project. With a career spanning decades and diverse genres, it’s refreshing to see a seasoned director like Kassovitz venturing into uncharted territory – children’s films.

At this year’s Cannes Film Festival, “The Great War,” one of Europe’s most ambitious film productions, is leading the way at the American Film Market with stunning new visuals for its computer-generated animal cast.

Based on the influential two-part graphic novel “La Bête Est Morte,” penned by Edmond-François Calvo during the Nazi occupation of France during World War II and released shortly after the liberation of Paris, the film “The Big War” is directed by Mathieu Kassovitz, who also helmed “La Haine.” This production is backed by Aton Soumache, a prominent French producer known for hits like “Little Nicholas – Happy as Can Be,” which won at Annecy, and “Miraculous: Ladybug & Cat Noir, the Movie” on Netflix.

As a cinephile, I’m thrilled to share that when the original book lacked much narrative structure, Tim Burton’s longtime collaborator, Caroline Thompson – an acclaimed screenwriter known for “Edward Scissorhands” and “The Nightmare Before Christmas” – was brought on board to pen the screenplay. Pierre Lescure, a former president of Cannes Film Festival and co-founder of Canal+, lends his expertise as the film’s associate producer.

I’ll be part of a project called ‘The Big War,’ which we’ll film for five weeks next summer. After that, the animators will step in to bring our characters to life. We expect the movie to wrap up towards late 2026 or early 2027.

Prior to this year’s AFM, Kassovitrz and Soumache had an interview with EbMaster, where they talked about the roots of their current project, sharing a tale that all members of the family can appreciate. They emphasized that while their aspirations are grander than the film’s striking €30 million budget, these ambitions drive them. As an added treat, they unveiled a teaser poster and a preliminary poster for the project, offering us a sneak peek into the remarkable artistry that will bring the woodland creatures to life on screen.

‘The Big War’ First Look: Iconic French WWII Graphic Novel Gets a Big-Budget Adaptation From Mathieu Kassovitz (EXCLUSIVE)

In today’s movie production, the characters will be fully animated while the rest of the scenes will be filmed live. Could you tell us your approach to blending these two types of footage together?

Mathieu Kassovitz: Everything in this movie will feel genuine. While there aren’t many human characters, try to forget that the animals are computer-generated. I know it might seem natural to describe it as an animated film, but please understand my perspective – this isn’t just any animated film. Only the characters are being made digitally, and we are encouraging our artists to create characters worthy of awards. These characters will tug at your heartstrings.

Our goal is to create an exceptional hybrid film that has the authenticity of live-action cinema. We aim for everything we capture on camera to be genuine. Instead of animating certain scenes, such as those set inside a tree, we will construct physical sets representing the interiors and incorporate CG puppets. We want to seamlessly blend the best aspects of live-action storytelling and computer-generated animation. Essentially, we’re planning a live-action film featuring animals, with the same level of realism as films by directors like Scorsese, Spielberg, or Nolan, blending elements from “Saving Private Ryan” with the charm of “Paddington.

Since the basis for this movie is a popular graphic novel in France that appeals to readers of all ages, are you trying to create a film that replicates a similar effect?

Kassovitz explains that the film is primarily designed for young children, starting around ages six to eight, and then extends to their older siblings, parents, and even grandparents. For a child of five, it’s an exciting journey movie. A 15-year-old might view it as a World War II film, while a 22-year-old could see it as depicting the Nazi’s genocide of Jewish people. However, for someone aged 50, they would understand every detail and appreciate why those details were chosen to be included. But the core storyline is simple: it’s an adventure about rabbits running through the forest while being pursued by dogs.

In My Opinion: I believe we’re aiming for an audience spanning from seven years old to 77. Our goal is authenticity and reverence for our viewers, which is why we enlisted the exceptional talent of Caroline Thompson. She has previously crafted the magical stories of “Edward Scissorhands” and “The Nightmare Before Christmas.

How close will your film be to the original book?

Kassovitz’s Explanation: In terms of our project, the book holds minimal relevance to what we’ll actually do, but it serves as the fundamental blueprint. This book was penned during World War II and published close to the liberation of Paris. Unlike a typical novel, this book doesn’t have characters or dialogue; instead, it chronicles a day-by-day account of survival during wartime. These stories carried symbolic meanings that permeated the cultural landscape of World War II. The significance of this book is immense.

This is your first kids’ movie. What made you want to do something for a younger audience?

Kassovitz: I’m creating this film because my mentor is Steven Spielberg, and he remains an inspiration. I aim to approach this project with the same dedication he would. Previously, I haven’t worked on a children’s movie, but if Spielberg were to do it, I know the kind of film he would create – a mature production suitable for kids, yet engaging for adults as well. It’s designed so that parents and grandparents can watch it alongside their children, and later have discussions about it.

Has there been talk regarding the sharing of this movie? It seems more appropriate for collective viewing experiences, as opposed to solitary viewing, particularly for younger audiences.

I prefer our movie to have a theatrical debut rather than being released directly on streaming platforms. I envision this film becoming an experience that brings families together, including parents, children, grandparents, and teenagers, in a shared cinematic journey. Ideally, in the future, we aim for it to be broadcast freely during festive seasons such as Christmas, ensuring its replay across different nations. My concern is that if we opt for streaming, viewers might quickly forget about the movie once something new comes along, preventing them from revisiting it later. I believe we are missing out on the special experience and potential for a masterpiece to be truly appreciated by not valuing the distinct energy a cinema release generates. Therefore, as much as possible, I’ll advocate for a theatrical premiere.

Instead of boasting about the €30 million budget and discussing the film’s commercial potential, I’d like to delve into your motivations for bringing this book to life on screen. You’ve held the rights for close to two decades now, so what is it that you aim to achieve as a filmmaker with this adaptation?

Kassovitz: So far, we’ve made every type of film about World War II. We’ve covered all aspects, yet there will still be fantastic movies about the war in the future. However, we want our movie to serve as a conclusion because it will speak to who we are when we are innocent. Children don’t understand war; they learn about it from adults, but initially, it has no place in their lives. They are shielded. But that’s not always the case. We know there are children who aren’t protected at all, and for them, war can seem like a game. Therefore, portraying it as a game with varying levels of complexity will allow the film to grow with these children. It’s challenging, but that’s our goal, and it’s the essence of why we are making this movie.

2024-10-28 18:47

‘The Big War’ First Look: Iconic French WWII Graphic Novel Gets a Big-Budget Adaptation From Mathieu Kassovitz (EXCLUSIVE)

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